Downton Abbey Modernised
by Palmviolet
Summary: Downton Abbey, in modern times. It follows the plots of the original episodes but it has been modernised! Also with slight twists. Pairings: Carson/Hughes, Cora/Robert, Mary/Matthew, Edith/Anthony, Sybil/Branson, Anna/Bates. Rated T for mild language, violence and slight suggestive themes.
1. Author's Note

**Author's note:**

Hello readers. I just wanted to say how much I've wanted to write this since day 1 of watching Downton Abbey. Some fanfics like this have been posted, but they haven't modernised all of it. They've just put a few characters in the modern day, or something to that extent. I wanted to just cut Downton Abbey out of 1912 and paste it into 2013, and see what happened.

So here it is.

**Enjoy the ride.**


	2. Series 1: Newsletter

**Hi. For each Series I am starting off with a newsletter from the Crawley family, stating what happens in the following series. I hope this is a good idea! Please R & R. The letter is written by Cora.**

**Disclaimer: I OWN NOTHING BUT THE TEXT AND MY OCs. **

Dear All,

This year has been rather hectic, I can tell you that! So much has happened since I last emailed you all. Mary, Edith and Sybil are finding their places in the world, and we've got the new arrivals to think about!  
Robert's career is going well, and he's enjoying working for himself. He still does the daily commute, however it's not so early anymore and he gets back at a more reasonable hour.  
Mary is off to London as well in January for her first day at work. She's got a job as a lawyer and she seems to enjoy studying for it, so fingers crossed! Recently she had a bit of a heartbreak, however, when a man named Matthew Crawley (coincidence entirely!) proposed, and she took too long to accept. However I am sure she will get over it.  
Edith is considering a career in music, and she hopes to be a piano teacher, however she has wide prospects and is keeping her eyes open.  
Sybil is doing all sorts of charity fundraising- recently she organised a flea market for the local church- she raised over 3,000! She is very interested in a medical profession and will be off to university in February, which she is very excited about.  
My career is, surprisingly, flying high. The film I've been directing this past year, Maid and Master, has been a box office hit and tickets are selling like ice creams on a hot day. Thanks must go to my friends Elsie and Sarah who kept the production in some kind of order and of course the nice people who kept my constant stream of coffee going!  
My life is busier than ever, coping with the twins. I gave birth a few weeks ago after a surprise pregnancy, on the eve of the film premier, of all nights! We've named them Elizabeth and Charles (Libby and Charlie for short).  
This year has been stressful and traumatic beyond belief, so Robert has promised to take us on holiday to the Maldives. Our flight is in five days, on the nineteenth of december, so we'll be away for Christmas.  
In the beginning of the year our house became home to a dog- a labrador named Isis. Robert loves her to bits, though personally I'm more of a cat person. The girls love her though and she's all right around the twins.  
I hope your year was enjoyable, maybe not as busy as ours was.  
Love from the Crawley family  
xxx


	3. Series 1: Episode 1 Part 1

**Hi again. Sorry for any errors in the tenses- whenever I write in past tense I accidentally write in present, and vice versa. It switches POV loads, so watch out for that. Thanks!**

**Cora**

"Rewind that." I say, taking a huge slurp of my coffee. "Start again."  
"Patrick and James have dropped out. Say they've had enough of acting." Elsie repeats and I groan.  
"So we've lost our main character and an important supporting one, in one day." I summarise. Sarah nods.  
"Pretty much." She replies. I sigh and stare into the depths of my coffee, stirring it repeatedly. "Have we organised auditions yet?" I question.  
Elsie nods. "Yes. They're scheduled for this Saturday."  
I pull a face. "I suppose we'd better shoot some scenes that don't require either of their characters."  
I stand up, stretching. I lean down and pull up my knee-high boots which seem to be intent on slipping down my legs. "These are so annoying." I mutter irritably.

When we get outside of our little marquee, it's raining. At least this narrows down the amount of scenes we need to choose from, though I was hoping to keep some sort of order to the filming.  
"Right! We're starting. Let's shoot scene 24!" I yell, glancing round at all the crew. The camera crew are checking the lenses, the actors are going over their scripts while the costume team are fixing their make-up. With my announcement they start rushing around in a panicked fashion.  
When the cast are in position, I collapse into the chair set up for me, with an umbrella attached to it with sticky tape. We're on a low budget.  
"Must you leave?" Lavinia begs. She plays Agatha Smith, a housemaid.  
"I must. Friends forever?" Gwen replies. Her part is Wren Bird, another housemaid. Basically Agatha is in love with Gordon Grantham, who is meant to be played by James, the heir to a large estate. Whether he returns her love will be revealed later in the movie, if we ever finish it. Which I doubt we will.  
"Cut! Cut, cut, cut!" I call, abruptly standing up. "This is all wrong. You sound like schoolgirls leaving school. Emotion, but not patronisingly so."  
Gwen sighs, and 'action!' is called again.  
"Must you leave?" Lavinia pleads again, with slightly more emotion.  
"I must! Friends forever?" Gwen frowns, forgetting she's on camera, and I shake my head. I call 'cut' and put my head in my hands. This will be a long day.

**Matthew**

I sidle nervously into the back of the small hall. I raise my gaze from my polished shoes to the front, where auditions are being held. Those presiding over it are seated at the front in ugly plastic chairs and are looking rather bored.  
"Next!" An american woman with long dark hair calls, her voice barely concealing her annoyance.  
A script is shoved into my hand and I'm pushed up onto the stage. I stare at the paper for a moment, memorising it, before I drop it at my feet and begin. It's a good thing I have photographic memory.  
Another man limps up next to me with the aid of a cane. I presume he'll be trying out for the part of valet to the part I'm trying for.  
"I'm very sorry Milord, this suit seems to have a mark on it." The other man apologises.  
"Don't worry, White. I'll wear my evening jacket if it's too prominent." I say.  
"Of course, Milord." He proceeds to mime retrieving a jacket.  
"We've seen enough." A woman with curly bangs in front of us says. Her voice is harsh but also slightly gentle. I gulp, thinking that maybe we were so terrible that we've been kicked out already.  
"You're through." Another woman with a Scottish accent says kindly. I stare at her for a moment, shocked. "Well don't just stand there gawking! Here's a script for you to learn, not that that'll be any problem for you." She hands me a long script. "You'd better get started."

"I'm John, by the way. John Bates." The other man introduces himself, smiling and holding out a hand. I take it and shake.  
"Matthew Crawley." I say, returning the smile.  
"Oh, are you related to Mrs Crawley?" John asks curiously, gesturing to the American woman.  
"I don't think so. To tell the truth, I didn't know she was a Crawley." I admit.  
Another man walks up onto the stage. "Thomas Barrow," He announces generally. "Auditioning for the part of White." His partner follows him.  
"Sorry, both parts have been taken." The woman with the Scottish accent apologises.  
The American woman stands up. "Show's over! No more auditions will be held!" She yells, her voice carrying in the large space. There's a murmur of dissent but the hall slowly empties.  
Thomas scowls at us as he passes with sullen steps.  
"Welcome to the cast." The woman with curly bangs says to us. "I'm Sarah O'Brien, in charge of casting and costumes."  
"I'm Elsie Hughes, script writer and producer." The woman with the Scottish accent adds, smiling.  
"And I'm Cora Crawley, director." The American finishes. "We start shooting early. You've been warned." She gives a broad grin. "Up at the Abbey, eight o'clock am. We'll see you there."


	4. Series 1: Episode 1 Part 2

**Hi people. Next chapter, yay! Sorry it's so short. This episode was quite short, actually. Sorry!**

**Mary**

"That dog is a bloody nightmare," I hear Grandma mutter. I struggle to conceal my grin, knowing that it will be met with disapproval. "Honestly Robert, can't you shut her in the kitchen?"  
"I'm surprised you know what gender she is," Dad mutters in retaliation. "And no, I can't. She hates the kitchen because it smells of food and she can't get to it."  
Grandma scowls. "You mean she'll eat your disgusting biscuits? Good."  
Dad decides to ignore the comment, and instead stands up. I stand as well.  
"Mum asked me to pick her up from the set since her car's being fixed." I excuse myself, leaving the house and sliding into my mini. The drive is only five minutes since they're filming up at the Abbey overlooking the village.  
When I arrive they're all packing up. I park up on the gravel driveway and walk up, glancing in surprise at a new face. He notices me and turns so he's fully facing me.  
"I'm Matthew Crawley." He introduces himself.  
"Mary Crawley. Are we related?" I question.  
He shakes his head. "Just coincidence."  
"Matthew, can I speak to you a moment?" Elsie calls and he hastily makes his way over there.  
Mum joins me watching him. "Nice man really, isn't he. Awfully decent with such nice manners." She says, and I groan, knowing what she's leading up to.  
"No. He's nice, but no. Why you're so keen on setting me up with someone is a mystery." I reply sternly.  
Mum shrugs.

"By the way, you're going out with Marcus Crowborough in twenty minutes." Mum announces.  
"What?!" I exclaim, staring at her. "You can't be serious!"  
"I am serious. You will go out for dinner with Marcus and you will enjoy yourself." Mum says sternly. I give a melodramatic sigh and head up to my room.  
I change into a black sequinned minidress and pin my hair up in a bun. Hastily apply black eyeshadow. When I come down, a man who I presume is Marcus is waiting for me. I sigh and allow myself to be led out to a sleek black sports car. Well, he's rich then. And a gentleman, I think as he opens the car door for me to slip inside. The journey is spent mostly in an awkward silence, occasionally sprinkled with polite conversation.  
Dinner is uneventful and rather boring, although towards the end Marcus suggests we explore the restaurant. I think this is rather childish and marks him as a daredevil, so I politely decline. His face twists into one of annoyance and when he drops me off he jets off in his sports car like he's glad to see the back of me.


	5. Series 1: Episode 2

**Hi people. This episode is very short, so sorry. :) The next one will be longer.**

**Matthew**

"Mum, I do wish you wouldn't interfere quite so much. We've only just moved here." I complain, staring hopelessly at Mum who doesn't seem to be listening. She's glaring at the hospital intently, an indignant expression on her face. Well, actually she's glaring at Violet Crawley, the President of the hospital. It's a small hospital, used only for the village and those nearby.  
"I believe that my scheme for the waiting rooms is best." She protests, for both of our benefits.  
"We all know what you believe, but what's actually correct is an entirely different matter." Violet announces, heading over to us.  
"For example, that man I spoke to yesterday. He had been waiting for four hours." Mum continues, as if she hadn't been interrupted.  
"He was treated and he is fine now!" Violet replies hotly.  
Mum snorts. "After what, four hours of discomfort?"  
"We always have an influx of patients in winter." Violet protests. I stay out of it.  
"Which is why my scheme for the waiting rooms is good!" Mum almost snarls.  
Suddenly Dr Clarkson appears. "Ladies, please. Maybe we could continue this discussion inside?" He suggests, with a despairing look in my direction. I pity him, playing referee to two such formidable women.

**Mary**

"Looks like they're clashing again." I remark to Mum, gesturing to Grandma and Isobel. They're obviously arguing, as they're throwing their hands about ferociously and although I'm too far away to hear, they're clearly shouting.  
"Yeah." Mum watches them in concern. "Should we interrupt?" She asks anxiously.  
"Nah. Neither of them will thank us for that." I reply, knowing it's the truth. A man walks up to us, looking very pale.  
"I was treated two days ago, and my illness came back." He complains nervously, a whiny quality to his voice.  
"That'll be the long wait." Isobel says, sneaking up behind us unnoticed.  
Grandma follows her. "I object," she protests.  
"Go in, and I'll see what I can do." Isobel continues, ignoring Grandma. The man nods gratefully and follows her inside, Grandma hot in pursuit.

When I pass by in the car later, I see the man coming out. He looks much better, although he's followed by a rather disgruntled-looking Grandma. I wonder what he did to upset her, though it's rather easy to do that. I sigh and continue driving through the village, seeing Matthew pass by as well. Thinking about it, he is rather good looking.


	6. Series 1: Episode 3

**Mary**

"Hello, Evelyn. And who's this?" I ask, smiling at the other man accompanying my friend Evelyn Napier. The other man is my idea of a tall, dark stranger- he has curly brown hair and smiling brown eyes that seem deep enough to sink into.  
"This is Kemal Pamuk." Evelyn introduces. I frown at the foreign name, but don't question it. I don't want to seem rude.  
We're at a restaurant, having lunch. My best friend Anna is with me, on a blind date supposedly with Kemal. However I'd rather like to nab him before she has a chance, whatever Evelyn thinks.  
We order and make idle chit-chat whilst waiting. When our food arrives we can't really talk, so we concentrate on our food.  
"I'm very sorry, I need to be at dance practice in London in an hour." I make my excuses as the dessert plates are cleared away. Kemal stands up.  
"May I meet with you later? When are you free?" He asks openly.  
I smile. "This evening, about eight." I say. He nods vigorously.  
"I'll pick you up. I'll give you my number and you can text me your address." Kemal says, in a business-like tone.  
I nod, then leave, heading to the train station.

**Cora**

"What the..." I trail off, staring at the lifeless body of Kemal Pamuk prone in Mary's bed.  
"I don't know what happened!" She whines, her voice choked with sobs. "One minute he was alive, and then he was... well, dead!"  
"Well... We'd better redress him and then call 999." I sigh in resignation.  
"Wh-why do we need to redress him?" Mary asks, confusion momentarily stopping the sobs.  
I roll my eyes impatiently. "Come on, Mary. This may be the modern age but gossip still spreads like wildfire! We'll say he just dropped dead in front of you, while talking." She nods slowly, relief at having something to do clearing her sadness for a while. We quickly dress him then struggle downstairs under his weight. He's surprisingly heavy and I think I do my back in.  
We drop him as if he fell and I grab the phone, dialling 999 with a shaky finger. The paramedics arrive promptly and lift Kemal onto a stretcher, though we all know it's too late.  
"What's going on?" A voice calls from behind us. I turn to see Robert, Edith and Sybil descending the stairs, looking confused and concerned at the sight of the doctors and nurses.  
"Kemal... He-he died." Mary answers, swallowing another sob. Edith watches her closely, and I swear I see the hint of a smirk. I'm not sure why, though, so I don't press it.


End file.
